He has explained his method by saying: “When I design buildings, I think of the overall composition, much as the parts of a body would fit together. It is perhaps no coincidence that these two designs remain some of Ando’s most well-known with both attempting to provide spiritual spaces organized around an appreciation of a single natural element, they are perfect examples of Ando’s architectural principles.Īndo’s buildings derive their form from simple geometries that contrast with complex 3-dimensional circulation, reflecting his desire for his architecture to be an immersive physical experience. Image © Wikimedia user 663highland licensed under CC BY-SA 3.0Īndo’s mastery of light, nature, and space catapulted him onto the global stage during the 1980s. It was in the latter part of this decade that he completed his two most recognizable designs, the Church on the Water in 1988 and the Church of the Light in 1989. Ando honed in on the characteristic design feature of bare concrete walls-however unlike in many concrete designs, Ando’s walls are renowned for their smoothness, an effect he achieves by varnishing the formwork before pouring the concrete. He opened his office in 1969 in Osaka and achieved fame quickly, being awarded the Annual Prize of the Architectural Institute of Japan as early as 1979 for his Row House in Sumiyoshi (commonly referred to as the Azuma House). #Azuma house planos autocad gratis driver© Flickr user krss licensed under CC BY-SA 2.0Īfter briefly working as a truck driver and a professional boxer, Ando embarked on a largely self-taught architectural education that included apprenticeships, night classes, and visits to renowned buildings across the world. Image © Flickr user hetgacom licensed under CC BY-SA 2.0Īs the recipient of the 1995 Pritzker Prize, Tadao Ando (born 13 September 1941) is highly regarded for his unparalleled work with concrete, sensitive treatment of natural light, and strong engagement with nature. Based in Osaka, Japan, Ando’s ascetic yet rich version of modernism resonates with the traditional Japanese conception of architecture, and has caused him to be regularly referred to as a “critical regionalist.”
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